Gina Marchetti Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Hong Kong University Press 2007 ISBN 978-962-209-801-5 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Secure on-line Ordering http://www.hkupress.org Printed and bound by Condor Production Ltd., Hong Kong, China Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press’s name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-language books published in China. “At first glance, Square Word Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square Word Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed.” — Britta Erickson, The Art of Xu Bing Contents Series Preface vii Acknowledgements xi 1 Introduction: The New Wave and the Generic Abyss 1 2 Forgotten Times: Music, Memory, Time, and Space 9 3 Allegories of Hell: Moral Tales and National Shadows 51 4 Postmodern Allegory: The Global Economy and New 97 Technologies 5 Identity as Static: Surveillance, Psychoanalysis, and 117 Performance ●vi CONTENTS 6 Thieves and Pirates: Beyond “Auteur” Cinema 155 Appendix 1: Plot Summaries 169 Appendix 2: Interview with Andrew Lau and Alan Mak 177 Notes 185 Credits 203 ●1 Introduction: The New Wave and the Generic Abyss A classic story of cops, robbers, and the difficulty of telling them apart, Infernal Affairs deals with the tale of two moles — one a triad in the police force and the other an undercover officer in the gangs. As a figure of the imagination, the mole has taken hold on global screens. The character embodies the predicament of hidden and uncertain identities, concealed motives, moral ambiguity, conflicted loyalties, and the inability to take a stand or find roots in an increasingly complex world of new technologies and post-industrial, transnational economies. With the added factors of its change of sovereignty from British to Chinese rule, the Asian financial crisis, and SARS, Hong Kong’s obsession with the hidden malevolence behind the quotidian exterior takes on a particular local significance as well, and, in a film industry plagued by triads and the infiltration of Hollywood product, the mole symbolizes the alien within the familiar — the competitor or the parasite within the ranks. When Infernal Affairs appeared in Hong Kong cinemas in 2002, the film industry had been in decline for several years. ●2 ANDREW LAU AND ALAN MAK’S INFERNAL AFFAIRS — THE TRILOGY Competition from an increasingly aggressive Hollywood distribution system, the infiltration of the triads into the industry in the 1990s, the impact of satellite television, videos, and video piracy, the “brain drain” that had sucked talent from all sectors of the Hong Kong economy including the film industry since the signing of the Joint Declaration in 1984, and the continuing uncertainty of the consequences of the change in sovereignty in 1997 all fed the crisis at the box-office. Emerging at a time when Hong Kong was shaken by SARS, a depressed economy, and waves of political disaffection culminating in the July 1, 2003 demonstrations, the Infernal Affairs trilogy speaks to the times. The challenges facing the Hong Kong film industry during this period mirror not only Hong Kong’s economic and political problems, but a more general global crisis of labor, national political authority, social structure, cultural authenticity, and personal identity at the turn of the century. In City on Fire: Hong Kong Cinema, Lisa Odham Stokes and Michael Hoover note: In various ways Hong Kong cinema is revealed to be “crisis cinema,” one that finds itself in a historic conjuncture where new patterns of language, time and space, place and identity, and meaning itself, are emerging.1 As part of this crisis cinema culture, Infernal Affairs holds up a mirror to the industry that created it, the local society that spawned it, as well as the global market that embraced it. The Internet, video piracy, corporate raiding, and the rise of the remake have been able to “white-wash” Asian popular cinema for a wider Euro-American audience. There is a need to appeal to a “young and dangerous” global youth audience by moving to a new generation of Hong Kong film stars while maintaining the established “brand” of recognizable faces. Not surprisingly, along with other Asian box-office hits like The Ring (1998), My Sassy INTRODUCTION: THE NEW WAVE AND THE GENERIC ABYSS● 3 Girl (2001), and The Eye (2002), Infernal Affairs has been snatched up, not for distribution in the United States, but to be remade by Martin Scorsese into The Departed (2006, starring Jack Nicholson, Matt Damon and Leonardo DiCaprio). Fantasies, like capital, commodities, and labor, circulate globally, and Infernal Affairs, itself indebted to a slew of Hollywood creations, including The Godfather Trilogy (1972–90), Heat (1995), Internal Affairs (1990), Miami Vice (1984–89), The Sopranos (1999–2006), and, of course, John Woo’s Face/Off (1997), provides a case study of how films travel as popular narratives and as commercial products. Taken as a whole, the Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the implosion of a system that blurs “legitimate” political authority with an underground “illegitimate” economic reality. As part of the New Hong Kong Cinema Series, this short book attempts to highlight the significance of Infernal Affairs within the context of contemporary Hong Kong cinema as well as within global film culture by examining all three films in the trilogy. Exploring the way Infernal Affairs has crossed borders as a story, a commercial product, and as a work of art, this study demonstrates the ways in which Hong Kong cinema continues to be inextricably intertwined with global film culture and the transnational movie market. Infernal Affairs touches on themes hotly debated within contemporary critical theory, including globalization, transnational migrations and diaspora, the politics of time and space, nostalgia, memory and the archive, consumerism and post-industrial capitalism, identity and subjectivity, new technologies of communication, and the defining qualities of postmodernity. The trilogy conjures up a narrative time and space intersected by rings, like the circles of hell, of aesthetic, cultural, historical, political, and economic associations. After peeling away these layers, ●4 ANDREW LAU AND ALAN MAK’S INFERNAL AFFAIRS — THE TRILOGY including the trilogy’s relationship to popular genres, spatial/ temporal structure, its use of allegory, its reliance on performance, its association with the Hong Kong New Wave, and its commercial ties to Greater Chinese cinema, this analysis of Infernal Affairs concludes with a look at the trilogy’s self-reflexive allusions to the mass media and the current state of Hong Kong film culture within a global context. Infernal Affairs and the New Wave Current Hong Kong cinema runs the gamut from commercial genre films through the Hong Kong New Wave and the “Second Wave” of newer directors to the work of independent filmmakers who often collaborate with or are influenced by the Sixth Generation from the People’s Republic of China (PRC). Infernal Affairs, with its star-studded cast and high production values, adheres more to the commercial end of that spectrum. However, in Hong Kong film culture, the boundaries between the commercial, the art house, and the experimental blur, and filmmakers may move from film school experimentation to public-financed television to commercial features to art house productions or independent co-productions throughout the course of their careers. For example, John Woo went from making experimental shorts as part of Hong Kong’s cine- club movement to working for Chang Cheh at Shaw Brothers, to being part of Hong Kong’s New Wave through his association with Tsui Hark, to crossing the Pacific to make commercial Hollywood features.2 Although Infernal Affairs’ “new cinema” credentials may be a bit shaky, they are worth examining to provide an entry into the way the film circulates globally as popular entertainment with art film overtones. As Charles Leary has noted: INTRODUCTION: THE NEW WAVE AND THE GENERIC ABYSS● 5 The hyperbolic tale of police corruption — i.e. corruption among those investigating corruption (the Internal Affairs office) — might also invite a constellation between this new image of Hong Kong “high concept” cinema in Infernal Affairs and a flashback to the Hong Kong new wave of the 1980s, some of whose noted auteurs honed their skills by making docudramas for a television series sponsored by Hong Kong’s Independent Commission Against Corruption.3 In fact, several associations link the cast and crew of Infernal Affairs with the Hong Kong New Wave. Andrew Lau Wai-keung, Infernal Affairs’ co-director and cinematographer, has moved between art films and commercial features throughout his career. Both his art house projects and his commercial forays, in fact, have dealt with criminals and police. He worked with Wong Kar-wai as his cinematographer on two stories of cops and crooks, As Tears Go By (1988) and Chungking Express (1994), as well as working behind the camera for Ringo Lam on a story of an undercover mole, City on Fire (1987).